Harmonizing Corrido and Union Song at the Ludlow Massacre

IF 0.1 4区 社会学 0 FOLKLORE WESTERN FOLKLORE Pub Date : 2002-04-01 DOI:10.2307/1500287
S. Rudd
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引用次数: 3

Abstract

In Ludlow, Colorado, on April 20, 1914, anti-union state militia and hired gunmen opened fire on a colony of miners and their families. After a ten-hour assault with machine guns, dynamite, fire, and kerosene, over twenty people died and many more were wounded. The most publicized atrocity was the death of two women and eleven children who took refuge in a ground cellar only to suffocate and burn to death in what became known as the infamous Black Hole. The Ludlow Massacre became a catalyst for pro-labor movements across the nation as well as a subject of much debate by lawmakers, historians, labor activists, and writers such as Meridel LeSueur, Upton Sinclair, Zeese Papanikolas, and even George S. McGovern. More recently, the site of the Ludlow Massacre has been the focus of annual archaeological digs as scholars endeavor to find more details surrounding the history of this significant labor conflict. Each discovery and rendition of the massacre adds greater understanding to the history of the people, times, and events of the Colorado Coal Strike, but many stories remain to be told. Throughout his lifetime Elias Baca (1895-1998) sang the history of the massacre by synthesizing corrido and union song forms. Taking a corrido form widely used for protest by Mexicans and Mexican Americans and combining it with union song elements, Baca created his own discourse to broadcast and comment on the massacre. Looking at the historical and social contexts surrounding Baca's corrido and at the formulas and customs of both Mexican American balladry and union song allows for several conclusions: First, Hispano and Mexican American culture had a distinct and vocal presence in the Colorado Coal Strike as well as in other mining conflicts throughout the intermountain West. Second, Baca used his corrido to rally Spanish-speaking union miners and to emphasize the unity and power of the union, making Baca's corrido one of the earliest pro-union corridos recorded, if not the earliest. Third, Baca's adaptations and additions to traditional border corrido forms and union songs create a new corrido form as well as a new social identity for its performers. Representing the culture and history of a working-class people who had little access to other forms of expression, Baca's song is a discourse that is critical for understanding the larger history of the massacre, specifically how members of unique ethnic groups worked together to fight capitalist corruption and oppression. HISTORICAL CONTEXT The Ludlow Massacre occurred after a long and disillusioning strike. Before the 14 month-long strike, the Colorado state government ruled that mine operators must give miners eight-hour days, an elected check-weighman, the right to patronize any business or doctor, and the right to organize. When none of these rulings were enforced, on September 23, 1913, an estimated thirteen thousand miners went on strike against the Colorado Fuel & Iron Company, leaving only 7 percent of the workers in the mines (Powell 1985:101). Tension rose rapidly in southern Colorado mining districts. This strike had a double impact since it also left Colorado Fuel & Iron Company's steel mill without coal, giving the strikers much needed national attention. Even Mother Jones, dear to miners and dreaded by operators around the country, trekked to Colorado and fought for the workers' demands that had been met only with unfair wages, abusive foremen, and horrendous hours and living conditions. Mother Jones was arrested and banned from Colorado four times, but she persisted. Ten days after one of her arrests on January 22, 1914, women and children led a march down the streets of Trinidad to the hospital where Mother Jones was detained. General John Chase feared a riot and went on a rampage after them, instigating what was known as "The Mother Jones Riot." Negotiations between the union, operators, and militia were complicated and futile. Even union leaders had disagreements, and the government officials and militia members had lost their integrity. …
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在勒德洛大屠杀中协调科里多和联盟之歌
1914年4月20日,在科罗拉多州的勒德洛,反工会的州民兵和雇佣枪手向一群矿工及其家人开火。在用机枪、炸药、火和煤油进行了10个小时的攻击后,20多人死亡,更多的人受伤。最广为人知的暴行是两名妇女和11名儿童的死亡,他们在一个地下地下室避难,却在臭名昭著的黑洞中窒息而死。勒德洛大屠杀成为全国支持劳工运动的催化剂,也是立法者、历史学家、劳工活动家和作家(如梅里德尔·勒苏厄、厄普顿·辛克莱、泽泽·帕帕尼科拉斯,甚至乔治·s·麦戈文)争论的话题。最近,随着学者们努力寻找更多关于这场重大劳资冲突历史的细节,勒德洛大屠杀遗址一直是年度考古挖掘的焦点。每一次大屠杀的发现和再现都加深了人们对科罗拉多煤矿罢工的历史、时代和事件的理解,但仍有许多故事有待讲述。伊莱亚斯·巴卡(1895-1998)一生都在通过合成走廊歌和联盟歌的形式来演唱大屠杀的历史。采用墨西哥人和墨西哥裔美国人广泛用于抗议的走廊形式,并将其与工会歌曲元素相结合,Baca创造了自己的话语,以广播和评论大屠杀。看看巴卡走廊周围的历史和社会背景,以及墨西哥裔美国人的民谣和联合歌曲的公式和习俗,可以得出以下几个结论:首先,西班牙人和墨西哥裔美国人的文化在科罗拉多煤矿罢工以及整个西部山间的其他采矿冲突中有着独特而鲜明的存在。其次,巴卡利用他的走廊来团结说西班牙语的工会矿工,并强调工会的团结和力量,使巴卡的走廊成为有记载的最早的支持工会的走廊之一,如果不是最早的话。第三,巴卡对传统的边界走廊形式和联合歌曲的改编和补充创造了一种新的走廊形式,也为表演者创造了一种新的社会身份。巴卡的这首歌代表了工人阶级的文化和历史,他们几乎没有其他表达方式,对于理解大屠杀的更大历史,特别是不同民族的成员如何共同努力对抗资本主义的腐败和压迫,是至关重要的。勒德洛大屠杀发生在一场长期的、令人失望的罢工之后。在长达14个月的罢工之前,科罗拉多州政府规定,煤矿经营者必须给矿工提供8小时工作日,选举产生的称重员,光顾任何企业或医生的权利,以及组织的权利。1913年9月23日,当这些裁决都没有得到执行时,估计有1.3万名矿工罢工反对科罗拉多燃料和钢铁公司,只留下7%的工人留在矿井里(Powell 1985:101)。科罗拉多州南部矿区的紧张局势迅速升温。这次罢工产生了双重影响,因为它也使科罗拉多燃料和钢铁公司的钢厂没有煤炭,给了罢工者急需的全国关注。就连矿工们所喜爱、全国各地的矿工们所惧怕的琼斯母亲,也长途跋涉到科罗拉多州,为工人们的要求而斗争,而工人们的要求得到的满足只有不公平的工资、虐待工人的工头、可怕的工作时间和生活条件。琼斯母亲曾四次被逮捕并被禁止进入科罗拉多州,但她坚持了下来。1914年1月22日,在琼斯母亲被捕10天后,妇女和儿童在特立尼达街头游行,前往琼斯母亲被拘留的医院。约翰·蔡斯将军担心会发生暴乱,于是在暴乱后横冲直撞,引发了所谓的“琼斯母亲暴乱”。工会、运营商和民兵之间的谈判既复杂又徒劳。甚至工会领导人也有分歧,政府官员和民兵成员也失去了正直。…
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WESTERN FOLKLORE
WESTERN FOLKLORE FOLKLORE-
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